Please tell us about the projects you worked on before making ‘APT4800’. How did you start, and how did you learn to make films?
I started out as a film student, majoring in cinematography at the School of Visual Arts in New York, where my mentor was the secretary of the American Society of Cinematographers (ASC). During the pandemic, I also attended Beijing Film Academy to continue my studies.
Throughout university, I directed and shot several short films, making plenty of mistakes along the way, but I learned and grew through those experiences. By the time I graduated, I directed a 20-minute short film that involved 100 extras and a production crew of 150 people. I believe it was this project that finally allowed me to piece together everything I had learned about filmmaking. After completing it, I kept reviewing my work, which gave me a deeper understanding of visual storytelling and shot composition.
Tell us about ‘APT4800’. How do you describe it?
‘APT4800’ is a low-budget sci-fi film. In an era where artificial intelligence is advancing rapidly, AI is beginning to replace certain human jobs. Many artists are concerned that AI might eventually take over creative work. However, I believe that while AI can replace many roles, art—something driven by soul and emotion—can never truly be replaced.
Please tell us about your favorite filmmakers.
My favorite filmmakers is Steven Spielberg.
If you were given a good budget, what would be your ideal project?
If I had a sufficient budget, I would love to make a Chinese fantasy film based on the concept of ‘cultivation’ (xiuxian). Firstly, I personally enjoy reading cultivation novels, and secondly, there is currently no movie on the market exploring this genre—where immortals and deities engage in epic battles. I think this could be China’s Marvel Universe.
Describe how you would ensure that production is on schedule. What steps would you take?
I believe pre-production is the most crucial stage. My first step would be to conduct technical location scouting and bring the actors along to rehearse emotions and blocking on-site. I’d then run through camera movements and positioning to finalize the visual plan with the cinematographer.
Next, I would work with the assistant director to map out the shooting schedule. During production, I’d make sure the lighting and set for the next shot are prepared in advance, minimizing downtime and ensuring smooth transitions between scenes.
What was the hardest part of making ‘APT4800’.
The biggest challenge was creating a futuristic look for the film. I scouted numerous locations and considered options like using green screens outside windows or diffusing neon lights behind closed curtains. However, I felt these approaches were too conventional.
I wanted to try something different, so I avoided windows altogether and opted for a cool-toned, low-saturation color palette. To emphasize the futuristic vibe, I drew inspiration from minimalist interior designs, which feel distinct from our everyday lives.
For dialogue scenes, I also broke away from traditional coverage shots, experimenting with more unconventional angles to create a fresh visual style.
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